Nan Goldin Quotes
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I love all the Hollywood women. I saw all the films when I was a teenager. Jack Smith's "Flaming Creatures".
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I'm very much interested in water and women in water. I've been photographing that for years although I didn't really know it at the time.
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I think it's obscene that many people are starving to death from anorexia. It's been said many times, it's trite. But when so much evil is going on against, for example the Afghani people, where women are being so oppressed that a woman's body is a battlefield.
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I like it [Rotterdam] much better than Amsterdam which is too much like a postcard. It's too cute for me. Rotterdam is more real, it's got a stomach.
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The camera is as much a part of my everyday life as talking or eating or sex.
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I'm not ashamed of my body and you know everything in the fashion world, if I was vulnerable to it, could drive me crazy. I think it produces so much self-hatred.
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I also photographed Maggie Cheung - but these didn't develop into a friendship either.
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I think it killed my sister as the times she was living in were so conformist. This is a subject I really want to deal with. I want to start making films about female rage.
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Yes, I need to be fed but the need to be loved by friends has been as important to me than any lover I've had all my life. This is part of the reasons that my lovers don't stay because they are jealous of how much I care about my friends.
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I used to live with Teri Toye in the '80s - a really gorgeous transsexual. She won Girl of the Year in 1986 [I think] as a Chanel model and she introduced this whole way of slinky, slow-motion modeling. It was amazing that the girl of the year was actually born male.
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I never read theory. I think that was to my benefit.
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American magazines are becoming very patriotic beyond belief to the point that I can't live there any more.
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When I started photographing my boyfriend of years ago, Brian, I realised I had no right to photograph other people having sex if I wasn't prepared to take them of myself too
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When I put my big retrospective together in '96 [for the Whitney Museum of American Art, New York], I saw that there were all these pictures of people inside looking out. All these pictures of women in water and mirrors. I don't know what it means.
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In '83 I started travelling round Europe with my slide show. It wasn't until I moved to Europe and got accepted in a big way in Berlin in the '90s that I got acceptance by the big art world in New York. I didn't really get to be known, or in the market, til '93 in New York.
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I won't show a picture where a person doesn't look beautiful.
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If I do continue to do fashion, I would want to radicalise it.
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I never thought heroin was very chic.
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My life is more important. At this point in my life I'm alone. I don't think about it a lot.
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The idea that a fashion photograph could make you cry doesn't happen. And I'm proud to say that my slideshows can make people cry.